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27 Questions for a Start

December 6, 2010

To what degree is this kind of music experimental?

Are there preconceptions?

Is the group constellation already a compositional element?

Is this music only for musicians and specialists?

Is there any “popular” potential in this kind of music?

Would it be a good thing if it became popular?

Is music a language or something beyond?

Does our musical scene simply reproduce capitalistic structures?

To what degree is this kind of music improvised?

Is it all about learning to make decisions without being able to fully analyse the current situation (due to a lack of time and/or capacity)?

Does it swing?

Can this music help to stop global warming?

Is our musical scene merely a resort for failed existences and dysfunctional people?

Is it easier to play than not to play?

Is failure one of our main sources for progress?

Are there different levels of listening?

Should everything be possible at any time?

Do we listen differently to an improvisation than to a composition?

Does a recording turn an open process into a completed piece of work?

Do we have to file it under a generic term?

How can stasis be avoided?

Is an improvisation a composition (in progress)?

Is it possible to have no expectations?

Does music anticipate changes in society?

Is this a gender-, race-, education- and region-specific form of art?

Is it possible to have a non-hierarchical group interaction?

Do we need a dedicated space?

from Bertrand Denzler, Burkhard Beins and Phil Durrant  (Trio Sowari),  2007

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